Michika McClinton is back with a video for a new Tantrum song titled "Karma." It's the first look at the shape of things to come with her new LP, Ojos, due out this Fall. Details regarding the album are still coming together, but what's immediately noticeable is the tremendous amount of artistic growth she has undergone since releasing Tantrum's XYO cassette and CD in November 2014.
The musical palette, the concepts, and the visual presentation all demonstrate an impressive maturity. The song is a collaboration with DAB Bowie. The video was directed by Jamye Luu of Oceanland Studio, and like most time-tested and battle-proven pop songwriting, "Karma" leaves plenty of room to roam around in its survey of exotic locales and the many characters McClinton plays. Is it a cautionary tale? Or is it simply a meditation on the essential balance of the universe? It's all a matter for the eyes and the ears of the beholder to decide.
Keep an eye out for mere details regarding the album, and a full Q&A with McClinton coming soon.
Faun and a Pan Flute bass player Dan Bailey has revealed a new song from his side project, Carey. "Obelus" is an audio/visual work that finds Bailey collaborating with sculptor and visual artist David Baerwalde. The song is taken from Carey's forthcoming instrumental tape, Other People. There is no release date yet, as it's all still in production. Bailey plays all of the instruments heard here, ranging from bass, guitar, upright bass, Clarinet, vibes, marimba, and more. "It will be a 25-minute instrumental collection of song, and there will indeed be other people playing on it — when it's finished," Bailey says.
Both the song and its accompanying stop motion animation video are lush in their soft collision of similar motions. The video is Bailey and Baerwalde's first proper collaboration, and both of them stress that there is no intended narrative at work here. The idea for the video was born when Baerwalde started experimenting with short films. When he juxtaposed his work with bits of Bailey's songs, broad, abstract themes emerged. "I really like collaborating," Baerwalde says. "When you're creating on your own it can feel like 'here's more of me, creating in a vacuum.' But when we each started working on these smaller things and saw how they came together, we started thinking about these relationships regarding transformation and technology, and themes of nature: Organic vs. inorganic. Things like that."
The word, "obelus," typically refers to an editor's mark — a "−" or a "÷" — used in ancient manuscripts to point out questionable or doubtful words and passages. How this relates to Bailey and Baerwalde's intent with the song and video is a mystery. Just press play and let your imagination run with it.
The total beach babes of Fantasy Guys team up with Southpaw Brothers Productions to create a magical scene inside a conch shell for the group's latest video, "It Isn't Real." The song, taken from Fantasy Guys' latest collection of summer sun and fun jams, On Poppy Island (Skeleton Realm), brings love and happiness to anyone who's lucky enough to stumble upon the shell's melodies. In this case, Inyo Galatea (guitar, flute, voice) floats his summery falsetto into the ear of a wandering beach beauty as he sings "Oh, how you're making my heart go / Oh whoa oh whoa / How you're making me feel, like it isn't real.”
Fellow Fantasy guys Maddy Davis (vibraphone, synth, keyboards) and Mitchell "Hibiscus Chad" Hardage (bass, drum loops) gently push the song along, dancing, posing, and smiling from ear to ear. The lines between fantasy and reality are blurred as she spies the band hanging on the beach sipping Bud Light Limes, all the while rocking inside the conch. The video captures their playful spirit, and as the song ignites a summer romance, the group's melodies and beats bring the whole seaside community together.
Lather on that sunscreen, drop anchor, and settle in for a sandy adventure.
A-Town homegirls Bosco and Speakerfoxxx just dropped their new video for "Shooter" and it's a bass-dropping, confetti cannon-popping summer jam with a lesson in self-esteem to boot. The song comes from their Girls in the Yard collab. Released by Fool's Gold Records, the project is full to the brim with anthemic girl power and party songs. Think of "Shooter" as the ride-or-die chick's club-banger lament upon realizing her dude ain't quite the hitter he hyped himself up to be, followed by the sense of empowerment that comes from being unafraid to fly solo.
But there's a parallel, if ironic, lesson for indie artists of all stripes to glean from Bosco and Speakerfoxxx's collabo. With solo grinds that have established them as noteworthy Atlanta-based artists and tastemakers for years, this collective effort is fueling a heightened level of success for both. You might say they're on some grown woman shit.
In case you missed it, New Noise Magazine debuted a video last Fri., June 17 for the Biters’ “The City Ain’t the Same." The song, a digital bonus track from last summer’s Electric Blood LP (Earache Records), is filled with the same memorable melodies and clap-along choruses that define the album proper.
Like the other promo videos for Eclectic Blood, it was shot and directed by Video Rahim and Ashley Simpson. As usual, there's numerous guest appearances by Atlanta rock scene fixtures. Local photographer and hype man Max Cooper plays Gavin Claxton, host of the sadly fictitious variety show Gavin Claxton’s Rock ‘n’ Roll Fun House. The band performs its song with assists from Black Linen’s Randy Michael, Pietro DiGennaro and Nikki Speake from Midnight Larks, and Biters singer and guitarist Tuk Smith’s wife, Ashley Salisbury (Stolen Hearts).
One final nod to local friends is the Biters and the film crew's brief closing tribute to Jade Lemons. The former Injected guitarist died in early April.
This is an older number, but the time is right — the summer heat is coming on strong, and that steam off the sidewalk leaves us all dreaming of belly flops in the pool and spending the whole day by a waterfall. King Guru, recently back from a quick tour up and down the East Coast, delivers the easy flowing single “Wayside” to match the videos summertime appeal. Nik Howlett (guitar, vocals), Clark Hamilton (guitar, vocals), Danielle Dollar (vocals, percussion, guitar), Anthony Dowd (drums), and Daniel Hyman (bass) look perfectly at ease in the clip filmed by Nick May and edited by Rebecca Gerhard and Michelle Lung. Throw a few more ice cubes in your drink, cut those jeans into jorts, and start planning your warm weather adventures.
PWR BTTM is a potent conduit of joy, love, and your inner supermodel exploding in song and show. Think: The food fight scene in Hook soundtracked by melodic jock jams. In Liv Bruce (drums) and Ben Hopkins' (voice and guitar) rated Q for Queer video, “West Texas,” shot in the abandoned Rock-A-Hooka swim park, the group is found rocking floaties and bursting with color against the desolate remains of the formerly great family get away.
The song details leaving New York City for other parts of the country and reconciling that even if you find yourself in a different physical state, your mental one can stay the same. It's punctuated by a mix of flamboyant guitars and stage-rattling drums. It's a sound that defines the the group's latest album, Ugly Cherries (Miscreant Records & Father/Daughter Records) — a sound that's built to shake the Masquerade to its foundations this Thurs., June 16.
A new video for InCrowd artist Mattiel, unveiled Monday by local blog Open Ears Music, reboots the Now Dig This! series that singer and guitarist Randy Michael founded in 2010. The original Now Dig This! was a series of black and white homages to '60s variety shows shot in one day, featuring the Biters, Barreracudas, Forty-Fives, and Michaels’ band at the time, the Booze. This time around, viewers get a Technicolor glimpse at the InCrowd collective’s creative process as they set the pace for Mattiel’s soulful delivery.
"No English" is the first offering from Victor Mariachi since the Old Children EP arrived in June 2015. It's the first glimpse at what the 25 year-old Mexican-American rapper has in store with his third mixtape, Telenovela, due out later this summer.
The lumbering and lo-fi beats take shape in a fog of '90s fidelity, like a nod to RZA's muffled Wu-Tang production style. The sonic grit — in the vein of Souls of Mischief or Hieroglyphics early productions — draws power from Mariachi's subtle accent. Despite the song's title, the Gwinnett County export speaks English quite well. As such, "No English" is an unapologetically political number that pumps up the volume on every negative stereotype about Hispanics portrayed in the media in 2016. When he spits the lyrics: "I was raised as an experiment to be feared by American citizens, delegate with masses," his cultural frustrations are clear. It's a germane anthem in the midst of a social and political climate of a country that realistically considers Donald Trump a viable presidential candidate.
To put it all into perspective, the video opens with a dedication to privileged America. "I face racism every day," Mariachi says. "The dedication in the video is for the limited-minded people who don’t have sympathy for or any sense of understanding for what people of color — all colors — or non-English speakers go through every day."
Ever since experimental electronic outfit Cloudeater went on an indefinite hiatus nearly three-years ago, Chris Hunt has stayed productive recording and releasing music under his own name. In March, Hunt released a pair of new EPs: Tomb and Tomb II via Psych Army Intergalactic. Both releases illustrate Hunt's expansive palette, as the former leans toward the drummer, producer, and songwriter's pop prowess and the latter ventures deep into the realms of abstract sonic abstraction. "Ghosting," a mid-EP track from Tomb, bridges these two halves of Hunt's personality, blurring any sense of coherent rhythm, movement, or motion. The song sifts itself out into a bed of tones and aural texture. At times, Hunt smears things into more impressionistic terrain. The video, directed by Alex Myers, conjures hyper distorted images that are both bizarre and alluring, and somewhat unsettling. It's the perfect visual accompaniment to sense of musical experimentation that Hunt is pursuing with his latest offerings.
Musicians are encouraged to bring drums and horns to make noise out of respect, not just for Sterling and Castile's deaths, but for the many black lives that have been unnecessarily taken by police around the country.